Arcadia by Tom Stoppard, Austin Shakespeare at the Rollins Theatre, Long Center, February 2 - 19

Last Friday the first question to Director Ann Ciccolella during Austin Shakespeare's regular post-performance talk-back with the audience was "How do you choose the plays for the Austin Shakespeare season?"

"The language," Ciccolella replied without hesitation. 'I'm always looking for plays that are rich in language, like this one."

Tom Stoppard's Arcadia shines with wit and whimsicality. The dialogues between these characters are so quick and clever that sometimes you perch on the edge of your seat, breathlessly holding back your laughter so that you won't miss a single syllable. This is wit writ deep -- in the characters, their contrasting views of the world and their social positions; in dissembling, feuding and courtship; and in the juxtaposition and then the overlapping within the same genteel English estate of events that occurred in 1809 and modern- day investigations of those events by archeologists and academics. The message is that truth is unknowable and that life occurs only in the flicker and illumination of the present moment.

Unlike other arts, theatre performances occur in all four dimensions. The fourth, that of time, is the most challenging, for actions occurring before your eyes will never exactly replicate themselves.

For example, we attended this remarkable production on the second day of a three-weekend run. Perhaps you witnessed it the night before or at some succeeding performance. We can exchange views about it -- about the superb acting, the richness of language, the verisimilitude of those English accents, Jonathan Hiebert's costumes, Jason Amato's mastery of mood and lighting, the startling simplicity and sublime concept of Ia Ensterä's set. But we were not there at the event. Language fails to capture adequately even a shared reality; how much more tenuous it becomes when we describe different although related events.

In keeping with that theme, Arcadia is both an investigation and a detective story. It opens in 1809 as impecunious tutor Septimus Hodge is artfully avoiding difficult questions posed by his aristocratic pupil Thomasina Coverly. "Carnal embrace" becomes a theme of equivocation, not only in the classroom but also when outraged versifier Ezra Chater accuses Hodge and demands the satisfaction of a duel.

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The Taming of The Shrew, All-Women Staged Reading, Austin Shakespeare, March 25 - 27

Much of the comedy in Shakespeare's Taming of the Shrew arises from farcical transformation. Lucentio changes places with his servant Tranio; both suitors to the fair Bianca disguise themselves as tutors; an aged traveler is intimidated into playing the part of wealthy old Vincentio, Lucentio's father. And of course, the titular shrew of the piece, "Kate the curs't," is a woman seeking to assert her rights to autonomy, choice and respect, as if she had all the rights of a man!

The Elizabethans had no problem with that. In the post-show discussion on opening night, University of Texas prof Dr. Emily Richmond-Garza, head of the comp lit department, reminded actors and audience that in the theatre of Shakespeare's time there were two sure-fire crowd-pleasing delights: fights and wife-beatings.

Our own time finds it difficult to swallow the basic premise of The Taming of The Shrew, which is Petruccio's macho conquering, abasement and subjugation of Kate. Earnest apologia or exculpations appear in director's notes for some productions. Some directors emphasize Kate's intelligence and wiliness, providing interpretations and stage business indicating that rather than capitulating to Petruccio, she has in fact outsmarted him and everyone else.

Read more at AustinLiveTheatre.com . . . .